TEATRO CONTEMPORÂNEO E PERFORMANCE I

SINOPSE DE AULA Nº 8
Conteúdo Programático:
3. RENOVAÇÕES PÓS-MODERNAS

 Exemplo de AUTORES que superam a tensão com o texto: Franz Xaver Kroetz, Sarah Kane, Heiner
Müller…

FASSBINDER, Rainer Werner (1945-82)

 Antitheater - Grupo de Teatro de Munique – colectivo 1967-71 – escreveu e dirigiu as suas
peças mais polémicas incluindo As lágrimas amargas de Petra von Kant (1971) – Apresenta
autores clássicos como Goethe ou Goldoni de forma truncada

FRIEL, Brian (1929-)

 1980 – Field Day Theatre Company com Stephen Rea

 Philadelphia Here I come! (1964) – Enredo relativamente convencional, mas usou dois actores
para o protagonista – um para a sua persona pública; outro para a sua voz privada
 Traduções - questiona processo colonial assente na questão da língua
 Toda a sua obra nasce da reflexão sobre a Irlanda

KOLTÈS, Bernard-Marie (1948-89)

 1983, Combate de negro e de cães – encenado por Patrice Chéreau – personagens multi-raciais
em territórios marginais – ideologias antitéticas: rico / pobre, autóctones / imigrantes, colectivo
/ indivíduo, capitalismo / comunitarismo
 Teatro de violência, crime, medo, racismo… Não faz a apologia das personagens mas trata-as
com compaixão – desprezo pelo establishment

 MODERNIDADE – PÓS-MODERNIDADE – E A SEGUIR?

o «Whatever happened to postmodernism?»
 (…) I will argue that, even as one moment leads to the next, this next comprehends the
one before. Thus what Guy Debord sees in the spectacle of the 1960s are the
technological transformations that Walter Benjamin anticipated in the 1930s; and
what cyberpunk writers extrapolate in the 1990s are the cybernetic extensions that
Marshall McLuhan preddicted in the 1960s (FOSTER, 1996: 218).

o SOBRE-MODERNIDADE – conceito de Marc Augé (Hartmut Rosa usa o termo MODERNIDADE

TARDIA)
 A Sobre-Modernidade define-se pelo EXCESSO
 De individualismo
 De acontecimentos (tudo é acontecimento ampliado pelos media)
 De tempo (ampliado pela tecnologia)
 De espaço (aumentado/encurtado pela tecnologia e acesso à mobilidade)
o ideia de não-lugar ou seja, espaços sem marca identitária como
centros comerciais, auto-estradas, aeroportos, hospitais onde se
nasce e morre…
 A intersecção entre Arte/cena e a de Vida
o Excerto da carta de Goat Island: Letter to a Young Practitioner:
 Goat Island’s performance work is developed collaboratively, a model also adopted when
teaching their workshops. Divisions between individuals, and ideas of authorship are blurred –

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 TEATRO CONTEMPORÂNEO E PERFORMANCE I

through this we see that the creative material connects to others, and is completed by them.
The emphasis is on process, systems, structure, research tools for creation. Use what is around
you, approach it with fresh eyes and ears: use the other workshop participants, Goat Island,
the room you’re in, the building, the city - other bodies. Use your memory as a resource -
mental recall, body recall – not as route to nostalgia or therapy, not necessarily to tell your
story, but to tell a wider narrative which reveals the extent to which your body already
contains a wider narrative. Critical evaluation is transformed into the need to respond
creatively. The work exists in the moment, vital, perhaps not yet even assimilated or
understood by the artists who made it. Give up what seems important to you; it’s not yours.
Think formally and then thematically. Not analyzing material to find its meaning, but
accumulating material, finding unexpected connections.

o Questões levantadas pela relação entre ‘cena’ e ‘público’:

o What does it mean to participate in art beyond the pre-determined roles and options allocated to us? (…)
The question of an artwork’s participation in public life is partly an expansion of the question of audience
participation in art from the micro to the macro scale, since performance practices might, at one level, be
viewed as microcosms of a broader social reality. They are not located outside of social reality, in a safely
cordoned area marked as an aesthetic space, wherein they may reflect or represente the world outside,
undisturbed or untouched by it; rather, these two dimensions are porous, connected by a vector shuttling
back and forth between them, not merely transporting ideas from one dimension to the other, but
affecting and transforming each of them in the process (BALA, 2018: 2).
 DEVISED THEATRE – boom criativo na mudança do século – estratégias de site-especific e site-
responsive; forma de criação que não parte de texto pré-escrito; práticas colaborativas de criação
 METAMODERNISMO
 TURNER, Luke (2011) «Metamodernist // Manifesto»

BIBLIOGRAFIA TEMÁTICA:
AUGÉ, Marc (2012) Não-lugares: introdução a uma antropologia da sobremodernidade. Lisboa: Bertrand.
BALA, Sruti (2018) The gestures of participary art. Manchester University Press.
FOSTER, Hal (1996) The return of the real. Cambridge/London: The MIT Press.
GOAT ISLAND (s.d.) «Letter to a yong practicioner» [on line em http://www.goatislandperformance.org/writing_L2YP.htm ].
SARRAZAC, Jean-Pierre (2003) O futuro do drama. Porto: Campo das Letras.

ESAD.CR, 2022-2023, Prof. Margarida Tavares